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BY ^ 

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GREASE PENCIL 
and BRUSH 


A Book On The 
Modern Cartoon 


By 

IRWIN WAGNER 

The Art Institute, Chicago ; The Chicago Academy Fine Arts 
The Cleveland School of Art 


COPYRIGHTED 1917 
BY PERCE PEARCE 


PUBLISHED BY THE PEARCE ART SCHOOL 

WAUKEGAN .. •• ILLINOIS 









2 


A Drawing by Forain (From Le Figaro) 







A FOREWORD 


) 


In publishing this little book the author realized he was up against 
a proposition. No book of this description has as yet entered the field of 
cartoon publications, yet we felt that to issue it would call down upon us 
all kinds of criticism of our good intentions. We have a number of friends 
who even objected to our study of the crayon cartoon, some of them saying 
it was only a “fad”; that it would soon die out and that pen and ink would 
rule the field. They argue, and with some truth, that the original American 
cartoon was pen and ink and that it is hardly patriotic to uphold the new 
style first instituted by a foreign artist. We leave you to judge these 
criticisms for yourself. The purpose and intention in issuing the book has 
nothing to do with those criticisms although I may, unconsciously, answer 
them in chapters of the text. 

Others held that it took someone versed in the most minute details of 
art to accomplish success in the new art of cartooning. A beginner, so 
they said, could not hope to gain a thorough knowledge of this difficult 
medium. 

We have, we believed, proven this to be not so. We think a beginner 
can become accomplished in the use of crayon as a medium of cartoon 
expression without first undergoing the necessity of a practical course 
in pen and ink. The methods employed in making a crayon cartoon are 
so different from those employed in making a cartoon in pen\ and ink that 
we fail utterly to see the value in studying pen and ink to get a “hunch” 
for crayon work. 

To make a cartoon in grease pencil and brush is not child’s play. It 
calls for something greater than the knowledge of “tricks,” so often em¬ 
ployed in the greater per cent of the pen and ink cartoons of the last 
decade. It really takes a much more serious idea of draughtsmanship. 
A beginner may get a thorough knowledge of how to begin and perfect 
study in this medium if the rules laid down in this book are followed. 
The book has been written ostensibly for the beginner, but there are things 
contained in it, to judge from remarks we have overheard, that might be 
of use to more advanced students of art. 

We have heard some very\ unusual remarks; about crayon cartoons. 
Some of the questions we have been asked would stagger the intellect of a 
Robinson or a Cesare; others, a child could answer. Since there seemed so 
much interest in finding out the elements underlying the use of the crayon 
the idea of answering them all at the same time came to us. We were 
told by others that a book on the subject might be a success. The oppor¬ 
tunity to publish it was offered us and we accepted. 

We realized, even as the thought entered our mind, that to issue the 
book would be impossible without calling upon the gentleman who has 
pushed the new art so far ahead. 


3 


( 


Mr. Boardman Robinson kindly responded and loaned us the drawing 
which has been considered the greatest of the many drawn during the 
last presidential campaign. We feel that without his assistance and help 
the book would have been a failure. 

We have no apologies to offer for the book. It is the result of several 
years hard study and experiment, in which we used up considerable time 
and money. As to the value of the book to each individual we can only 
guess; but, we do know that the little lessons set down in thej book, if faith¬ 
fully followed, will give you a, basis for study you could not otherwise 
obtain. If taken in the value of dollars and cents alone it will save you 
much more than the price paid for the book. 

IRWIN WAGNER. 


4 



6 



















7 





CHAPTER ONE 


THE CRAYON CARTOON—ITS ORIGIN. 

About the first modern illustrator or cartoonist to use the Grease 
Pencil as a medium of cartoon expression was Daumier, a Frenchman, who 
made quite a reputation for himself in Paris just previous to and during 
the Franco-Prussian war. Examples of his famous cartoons, some crudely 
drawn, are yet admired! by 1 masters of the craft. He used the crayon on 
lithograph stone and worked it much as the less modern cartoonists of 
today use the pen. 

The French seemed to take well to the new medium and from the first 
publication of Daumier's cartoons to the work of the modern Forain of 
Le Figaro, Paris, the medium seemed to have a strong hold on the minds 
of the French people. Although the French originated the style the Ger¬ 
mans helped complete and perfect it. Some of the finest examples of 
handling we have ever seen have been exhibited in the work of German 
cartoonists. It must be bourne in mind, however, that although the foreign 
style is very fine it must be Americanized to “get over" in this country, 
where real appreciation of a cartoonists “style" is not as apparent as in 
the older countries in Europe. The French admire the “style" of Forain, 
but we are y&t to fully appreciate 'the “style" of Cesare or Robinson. 

There is a dispute as to whom belongs the credit for the first Amer¬ 
ican grease pencil cartoon. We have inquired of numerous artists and car¬ 
toonists; read everything that came to our attention concerning the new 
medium, yet we are still unconvinced who was responsible for the first 
example of that style of work. We are inclined to believe, though, that 
to Mr. Boardman Robinson belongs the credit for this notable achievement 
in American cartooning. Mr. Robinson stayed more faithfully with the 
crayon than Mr. Cesare, who uses the brush for the greater part of his 
work. 

Some very fine examples of Mr. Cesare’s crayon work can be found 
in Harper's Weekly during the time of the last agitation against Tammany 
in New York, and Mr. Robinson's work has appeared in all the leading 
magazines as well as in issues of the New York Tribune up to the time 
of his leaving the paper to do independent work. 

The examples published in this book should serve the purpose of help¬ 
ing the beginner over many a difficulty, as by observation of the way those 
masters work only can the student hope to perfect himself. 


9 











—Drawn by John Cassell 
in the N. Y. Evening World. 


11 















CHAPTER TWO 

MATERIALS NECESSARY FOR MAKING A GREASE PENCIL AND 

BRUSH CARTOON. 

THE CRAYON. 

To most beginners the first puzzle which will have to be contended 
with is the matted of materials, especially in knowing the right ones to 
use. Most cartoonists stick to the Blaisdel paper wrapped pencil, which 
is rather hard and uncertain, some of the crayons being inclined to brittle¬ 
ness, thus necessitating considerable extra work in order to gain the de¬ 
sired result. For us, the Korn Lithograph/Crayon, or paper wrapped pen¬ 
cil, No. 2 has proven rather the more /satisfactory. The Korn crayon 
can be obtained in three grades; i. e., soft, medium, and hard. The student 
had best try all three and judge for himself which is suitable to his own 
peculiar needs. We recommend No. 2'Korns Lithograph Crayon, the square 
sticks being suitable for a large drawing worked in mass. They can be 
obtained for about 30 cents a dozen I at any big materials house. However, 
if the Blaisdel pencil can be obtained in the proper degree of softness it 
is really the better pencil owing to greater propensities for modeling. If 
the student becomes fairly proficient in the use of the crayon as a medium 
he will find that the Blaisdel pencil No. 152, used on Steinboch paper or 
board, will offer the best combination provided the drawing is not made 
for very great reduction. 

This brings to mind the/idea of reproduction, so often overlooked by 
a beginner and of the first importance in making a drawing for use in a 
newspaper where the modem presses turn out newspapers so rapidly that 
the plates must! be very bold and open to print well. For that reason, the 
use of Steinboch board is not recommended for the beginner—certainly 
not before you have had experience and are in a position to really dictate 
what materials you care to use. Naturally, if your work becomes in de¬ 
mand, the engraver will have to make the best of what you use. 

Some cartoonists, particularly Fitzpatrick of the St. Louis Post-Dis¬ 
patch, use a large wax crayon similar to a marking crayon, but of more 
even grain. By using a large crayon of that kind he is better able to 
eliminate detail and stick to mass. No. 2 is about the right grade. 

It would pay the beginner to try all these mentioned, although we will 
recommend later just what can be used with assured success. 

INKS. 

Inks come in many different styles, and all the widely advertised ones 
are good. It becomes apparent upon careful study that a very black ink 


13 


in the most suitable for this work. The ink we believe to be the best is 
made by Gunther Wagner of Vienna, Austria, and sells for 25 cents a 
bottle. It can be obtained from all the large art supply establishments. 
It is known as “Chin Chin Liquid Pearl” ink and is the blackest and best 
ink for use with a brush. In using it with a pen it is apt to become gummy 
and coat the pen, thus interfering with speedy work. But, when used with 
a brush solely it is an extremely fine ink. It can also be used as a wash 
but that should not influence the purchaser provided another ink is found 
more suitable for individual requirements. 

PAPERS. 

In selecting the proper paper to use the student has a very wide field 
to draw from. There are papers especially designed for the crayon, having 
a stipple surface, and when used carefully give very good results. One 
variety, called Ross Board, which is tremendously expensive and not worth 
a fourth of what is asked for it, may come within vision of the student. It 
may be very good stuff and may offer an opportunity to accomplish cer¬ 
tain results with less expenditure of time, but it is a ticklish paper to deal 
with at the best, and is liable to use up all your patience and energy with¬ 
out getting what one starts out after. It usually sells for about 50 cents 
a small sheet. It is a combination of paper and a preparation of clay coated 
over it so that it can be scratched with a sharp instrument, thus giving 
“freakish” effects. However, editors who are hiring cartoonists do not 
become intensely interested in “freakish” effects and care more for “punch” 
and an idea to a cartoon than to unusual effects. Of course if this unusual 
effect is used to help along the idea then it can be found to advantage to 
use some mechanical assistance, as is offered by the Ross Board. At pres¬ 
ent the Ross Board is mostly used in advertising drawings where an unique 
effect is desired. 

There is a paper called Shagren Stipple Board which gives the effect 
of some kinds of Ross Board, is much less expensive and if used carefully 
will be of much help in obtaining the results one is going after. It will not 
stand much “handling,” however, as the paper seems to assume the proper¬ 
ties of a blotter after it has been erased a great deal. 

Another paper very widely used is known as Eggshell Paper. It has 
the coarsest grain of all the papers now sold, is only fairly expensive, stands 
the greatest amount of reduction and is really the most practical paper, 
excepting in one particular. When a clean line is desired with a brush, 
Eggshell is not there. Drawings made upon it necessarily look very rough 
and it.is really not practical for certain subjects. If you wish to work very 
large it is probably the best paper. Careful drawing is essential and a 


14 


drawing made upon it should be penciled out on a separate piece of paper 
and then traced with blue transfer paper, so that you will not have to 
erase much in making the drawing. Like Shagren, it will not stand much 
going over. 

Steinboch Board or paper is very fine, offers a surface especially 
adapted to the Blaisdel pencil and if used correctly and nearly the size of 
the drawing after being printed will be found to offer the means to some 
extremely artistic results. It comes in heavy, mounted board, which is 
very expensive, and in thin or thick paper, which is not expensive and is 
thick enough to offer a fine surface for working. It will also be found to 
have two surfaces, a rough and a smooth. By turning it over and using 
the back of the paper a rougher grain can be obtained than when the front 
side is used. 

The proper pencil to use with Steinboch Board is the Blaisdel Pencil 
No. 152. It will be found that if the student is careful he will be able to 
model on this board, provided the pencil recommended is used. The Korn 
Crayon will not model as well on Steinboch, being of a greasier nature and 
necessarily more direct. By directness we mean a medium that, one ap¬ 
plied, will not stand much “going over.” 

Whatman's Medium Surface Water Color Paper is the most suitable 
and practical board for crayon use. It can be worked successfully with any 
crayon and can be modeled and erased to a certain extent. By using the 
Blaisdel pencil modeling can be done and some delicate and beautiful effects 
obtained. For fast, hurried work, where knowledge of mass properly ap¬ 
plied is of value, it will be found that this paper is very convenient. The 
Korn lithograph crayon can also be used to advantage, in some ways work¬ 
ing even better than the Blaisdel pencil. Whatman's can be had in several 
surfaces from any art store that carries a complete line of papers and will 
be found always in good condition of surface, regardless of how many 
years it has been carried in stock. However, if the student wishes to be 
sure that he is obtaining new stock he has but to hold the sheet of paper 
up to the light and the year that it was made will be seen watermarked on 
one edge of the sheet. 

We have some on hand at present which is watermarked “J. Whatman 
—1899.” It is in good condition and can hardly be told from some of the 
paper made years later. The student will readily appreciate the value of 
using a paper of this kind. It will relieve his mind of any question as to 
the condition of the paper upon which he is working. 

Not only does the Whatman paper furnish a fine surface for crayon, 
but it also has a surface for brush and ink that could hardly be improved 
upon. It will be found upon trial that the paper will give such a surface 


15 


as to allow either a clean brush line or a “drag” line, this being determined 
by the amount of ink allowed to remain in the brush when it is applied. 
It often becomes advantageous for the student or cartoonist to use a “soft” 
line, i. e., one not entirely black, as a brush heavily laden with ink would 
give. If the brush is almost free from ink, although still wet, it will be 
found that the line made when the brush is dragged across the paper will 
be broken and softer than would ordinarily be the case. A line of that 
sort can be used to advantage in a decorative way, as Mr. Falls uses it in 
his illustrations. It should be used sparingly and with thought as to the 
result when printed. A rapid press, the kind used on most newspapers of 
today, may change the line entirely unless especial care is taken to avoid 
it. This is as much a part of drawing a cartoon as anything else; to deter¬ 
mine just what results will be obtained when the work goes to the engraver. 
Often, today, an up-to-date engraver would rather have a crayon cartoon 
to etch because it usually requires less routing of the plate and thus saves 
time. 

There are likely other papers which, upon experiment, will be found 
suitable to the student and here, again, individual requirements will be 
found the guide to the proper thing to use, but we believe the paper and 
crayons recommended will be found to be the best for the student. 

The attention of the writer has been called, lately, to the Arnold paper 
and board which is shown with crayon used upon it in the diagram in the 
book. We have found the board to be extremely white and to offer sur¬ 
faces which could be used to very good account with the crayon as a 
medium. It is sold by only one firm in this country, we believe, and a port¬ 
folio of the paper may be obtained from Messrs. Favor, Ruhl & Co., if the 
student writes them. 

In using all the papers recommended here, if they are of thin stock, 
be sure that a suitable surface is under them when you begin to work upon 
them. This is of very first importance. Crayon, when applied, should have 
a very even surface, a projection on the paper often ruining the entire 
effect of a drawing, thus necessitating the redrawing of the cartoon. Care 
and painstaking effort on the part of the student is as essential as good 
drawing, and if carefulness and drawing are acquired it will be found that 
about two-thirds of the road to success in the work has been traveled. 
Speed in turning out work will come only with experience and the student 
will find it to advantage to leave speed last and get quality first. Quality 
is what is being purchased; not speed. 

BRUSHES. 

There are so many kinds and shapes of brushes on the market today 
that it must be confusing to the beginner to know just what to buy. Of 


16 




©LlThO CRAVON on,-" 

WHATMAN PAPER-COUGH 
surface 


<D LITI-tO. CRAYON on 
EGGSHELL PAPERj> 




© LITHO.CRAYON on 
STEIN BOCH PAPER/ 



© LITHO. CRAYON on-> 
ARNOLD PAPER-MED.SUR. 


© LlTHO C RAYON on —' 
SHAGREN STIPPLE BOARD 



© LITHO. CRAYON ON-' 
WHATMAN PAPER-HED. 


Effects of Crayon on Six Varieties of Paper —(Reduced one-half) 


17 




« 






course it becomes apparent at once that a small brush that can be made 
to hold a perfect point is more nearly the brush desired than any other. 
It has been our experience that the Red Sable brushes are the best. It is 
true that they are rather expensive and are at the best only brushes and 
not tools which can be allowed to lay around without care and attention 
being given them. They should be washed thoroughly after they have been 
used each time and should not be allowed to dry with ink in them. You 
will find that a thorough cleansing of the brushes will save you time as 
well as money, probably cutting the brush expense in half. About the best 
all around brush will be found in the Red Sable No. 1, many art dealers 
handling large assortments of different makes. All are good and it does 
not make much difference which materials establishment puts them out, 
just so they answer the above requirements. 

Some cartoonists and artists who use the crayon and brush as mediums 
of expression find the Japanese brushes to be very good. They always have 
a point and are useful in smashing in large masses of black. However, 
they do not prove as satisfactory for line work as the brushes that the 
writer has mentioned. 

It would be advisable to purchase two sizes of sable hair brushes— 
one for small line work on faces and in detail, such as the No. 1 mentioned, 
and, say a No. 5 for the masses and large lines. Constant practice will 
enable the student to make a clean, beautiful line, softer than a pen line 
and in other ways superior to the scratchy line that is sure to be the result 
of pen work no matter how careful the artist may be. Men who have used 
the pen and then have taken up the brush have rarely returned to the pen 
and ink medium, as they find the brush to answer requirements hitherto 
unknown to them in persistent use of the pen. Besides, it can be said that 
the brush offers freer use of blacks, and gives more punch to a drawing 
no matter what the subject may be. ✓ 

MISCELLANEOUS MATERIALS. 

The student should also purchase some blue transfer paper and some 
tracing paper, both of which are cheap. Enough can be purchased for a 
few cents to last indefinitely. The transfer paper should be used for trac¬ 
ing the first drawing (to be told in the chapter on the Making of a Grease 
Pencil Cartoon) onto the prepared board before inking in. 

It is important that the transfer paper should be blue, because in 
tracing from the first drawing it is important that no lines are left that 
the engraving process will “catch.” Blue will not photograph in the zinc 
etching process, which is used by all the larger newspapers and, thus, is 
superior to any other color for transfer purposes. 

It is presumed that the student has already provided himself with 


19 


the proper erasers and lead pencils. In this particular it might be stated 
that kneaded eraser and art gum are both useful. Both should be con¬ 
veniently near while the student is working, no matter what medium he is 
using, and, more especially in crayon work. 

Some plain, cheap white paper for the lead pencil drawing as well as 
thumb tacks and a drawing board are, of course, necessary. While work¬ 
ing, be sure and have proper light. This applies directly to crayon work. 
Working in a bad, artificial light will sometimes change the entire aspect 
of the finished drawing, it being the writer’s experience that, in crayon 
work, daylight is best. 

We do not think there is much else to say about the materials neces¬ 
sary, unless it is to add that these mentioned are, in the writer’s own 
personal opinion, best. Others may differ in their point of view. We are 
sure, however, that the student will not go wrong by using the materials 
herein recommended. 

Above all, select the best tools you can afford. Do not try to go at it 
half way. Half way materials will usually result in half way workman¬ 
ship. Insist on the best and your work will profit thereby, assuring you of 
more rapid advancement. 


20 



22 
















prafP 

MU: 




Kti&g 


y® f. O 

















■WV 
































































A Drawing by Cesare 



it 


FUQUAS 


—(From The N. Y. Sun) 

/ 


27 

















CHAPTER THREE 


THE MAKING OF THE CARTOON. 

Naturally, in every cartoon made for publication, whether made with 
a pen or with a brush and crayon, the idea is paramount. Get a good 
idea before you make a single line upon your paper. After you have an 
idea try to picture in your mind just how that idea should be worked out 
to advantage. Imagine the picture and then work up a little composition 
of that picture as it forms in your mind, trying to relate one mass to an¬ 
other, being sure not to get the point of interest of your drawing in the 
center of the paper. One of the most striking, if not the most striking 
feature of the new cartoon work is the wonderful composition some of the 
bigger men are making, even in their evidently hurried daily cartoon. Some 
of the pen and ink cartoons of yesterday were evidently drawn with the 
intention of getting all the lines in the drawing that was possible. In fact 
some of the artists evidently were technically crazy, if we will be par¬ 
doned for using this term. Now, one of the great essential characteris¬ 
tics of the modern crayon cartoon is the noticeable elimination of unneces¬ 
sary detail, which means the elimination of almost all detail. 

After you have the idea and the composition arranged, enlarge by 
your eye and not by mechanical means. Work up the best drawing you 
are capable of doing, trying to keep the drawing in as clean an outline as 
possible. When you have made up your drawing on the piece of paper, 
trace it, following the diagram on page 6. After the outline of the 
drawing has been transferred to the prepared paper or board, with the 
shadows in heavy blacks, begin by intensifying the outline so that in the 
tracing none of the outline is lost. First put in the blacks, softening the 
edge, where the crayon will be placed, as much as possible. This will 
keep the ink and crayon from looking hard, as would be the case if the 
crayon tone and the black tone ran abruptly into one another. After the 
black has been placed properly, begin putting in the crayon using a stroke 
as in line, gradually eliminating any effect like line by filling in the spaces 
left between the line strokes. If the student so desires he may use line, 
if it is worked and kept in a mass. However, constant use of lines will make 
the drawing look like pen work and this is to be avoided in this type of 
cartoon. In working around the faces on figures, it will be found of advan¬ 
tage to use the crayon sparingly, leaving it out entirely if it is found it 
will “gum” or muss the drawing. A simple, outline face with brush, or, 
if the face is in shadow, a mass of crayon carefully applied will be suffi¬ 
cient. Try not to lose the expression of the face, as this is essential in most 
every cartoon. After putting in the ink and crayon as shown in the 
plates on pages 6-7, you will have three tones. Take your crayon again and 
begin modeling, doing this with care. Begin to get more tones into the 
drawing, gradually taking away the appearance of flatness, a fault with 
many crayon cartoons. Note the finished cartoon on page 7. You will 
see what is meant by getting more than one tone into the drawing. You 


29 


will find several tones there. Practice will make you perfect in that way. 
Usually, where a hill or a stone is shown in a drawing, it will appear 
darker at the edge nearest the strongest light. This will apply in drawing 
buildings, also. Grease pencil offers means for accomplishing some rather 
unusual effects in this way. Try to model the drawing carefully. Care 
in modeling will practically eliminate any tendency toward flatness. Many 
of the modern cartoons show outdoor scenes. For the grayness so prev¬ 
alent in landscapes, the crayon will serve as a quick and certain means 
toward an end. Where the question of detail is practically done away with, 
the student can put in the most of his time in drawing on the figures, or the 
most important thing in the drawing, whatever that may be. In this 
way the principal object is brought out and the drawing made more strik¬ 
ing. Whatever may be said adversely on the point of drawing in a cartoon, 
it may be well to remember that the better drawn the main objects or 
figures in the cartoon, no matter what the subject may be, the more indi¬ 
vidual and realistic the idea becomes. Bad drawing will ruin a fine idea 
lots of times, but we have yet to see good drawing ruin a good idea. There 
has and still exists, among certain American cartoonists, a tendency to 
throw too much weight upon the idea. We can recall, at present, several 
ideas almost lost in the maze of terribly poor drawing. The men who have 
striven to perfect the new crayon and brush style, and the newer men in 
the pen and ink work are working more toward the finished drawing than 
was done years ago. 

It may be well to remember in making up one of these cartoons to aim 
toward a professional standard, both in arrangement and in idea. Try to 
get an individuality into your work. Compare each drawing that you com¬ 
plete and see if there are things in the drawing which seem to have a simi¬ 
larity to things in other drawings that you turn out. In this way many of 
the little “stunts” you do will be brought out more and more in each suc¬ 
ceeding drawing and the individuality will become more apparent. The 
more pronounced the individuality of your drawing, the readier the market 
for its disposal. There are a good many artists in the country whose 
draughtsmanship is equal to the more famous illustrators and cartoonists 
of today, but their individuality of workmanship is lacking. 

Study the drawings made in this book. See if you can find out by 
close study just how each artist uses the same thing, as for instance, the 
drawing of wrinkles. You will find a certain striking difference in each 
one. Clip the drawings of men you admire, filing them away for future 
reference. If you find in making a cartoon that you are up against it on 
some particular point, drag out the clippings and study how the big men 
have done what you are trying to do. Do not copy what they have done. 
Study their method and then try it in your own way. Do not steal figures 
from another artist’s work. This is not legitimate and may lead to all 
kinds of trouble. If you must have help, get it from photographs rather 
than from another artist’s drawing. By all means do not take figures 
from a cartoon. A cartoonist usually has more individuality about his 
work than an illustrator. It can be seen, then, that to take one of his 
figures would easily make your cartoon less individual. There is only one 
way to avoid that—keep your work your own. 


30 



—Drawn by Ray Evans in “Puck” 


31 












It is true that intensive study of one or more cartoonists’ work will 
have a tendency to make your work look like theirs, but this can be done 
away with by laying the clippings or help you have aside, after you have 
gotten about all you can from the study of them. Some of the bigger car¬ 
toonists of today, whose styles are very individual, at one time copied so 
faithfully as to make their work look very much like men who once domi¬ 
nated this particular field of endeavor. By leaving off at the proper time 
and not trusting too much to help of this sort, the budding cartoonist will 
find lots and lots of help from other men’s endeavors. He can feel assured 
that these men once tried what he is trying now and we believe this to be 
the best argument for the study of the other cartoonists. Why, we want 
to know, should the student hesitate to study successful men, since he 
himself is striving for success? 

Remember that the medium is a hard one, the use of which cannot 
be acquired over night. 

Grease pencil work is in its infancy in America, and it may be, if fate 
is kind enough, you may get up some new stunt in it that will make a 
fortune for you. Study it as a serious business, but in working up your 
ideas get all the humor in them you can. We have an idea that the coming 
cartoonist of the country will be a man versed in draughtsmanship, cartoon 
composition and humor. A greater demand for good work is becoming- 
more apparent every day. Remembering this and also knowing that the 
competition is becoming keener all the time, the remarks upon the effort 
to acquire good drawing will be appreciated. 

In spite of all the student may hear adversely, he can rest assured that, 
sooner or later, the editors almost to a man will be demanding this new 
work. It may not be brush work as done today, but it certainly is going 
to be an improvement upon the methods of the past. People are becoming- 
wise to things in art, no matter how slow they have been in approaching it. 

The student should, if possible, obtain a thorough knowledge of 
draughtsmanship; for without it his work cannot be of a high quality. By 
that, it is not intended to infer that one needs become a teacher in art. But 
he should obtain a foundation for his later work that will enable him to 
overcome almost any obstacle, and he will find many of them when making 
a crayon cartoon. In fact, we believe, the medium itself tends to a rather 
hard style of work. It seems, that, no matter how easy the subject may 
seem if done with a pen, the moment you try to transfer it into a composi¬ 
tion suitable to the use of the crayon, it becomes immensely more difficult, 
and therein, we believe, lies the fascinating side of the work. It calls for 
so much individuality that the student must keep alive to new methods all 
the time, thus opening up newer and more interesting fields for study. 

The student should determine, if possible, just what particular field 
he intends to study; whether political, social or in that of the “human 
interest” cartoon. Learn one particular slant at a thing. The political 


33 


field likely offers the biggest field from the standpoint of salary. There 
are really few good political cartoonists, the last election campaign proving 
that the field of good ideas was still dominated by a few men. If you can 
acquire good political ideas, you need not worry about a position on a news¬ 
paper. 

We were talking to an editor not long ago and we asked him what he 
thought of the future of the cartoon. He replied that he thought the 
crayon cartoon would dominate the field in the future. He did not seem 
to know just why, but spoke of something new in cartoon work that would 
be an improvement. He was of the opinion that drawing was an essential 
quality in any cartoon, especially in the political line. He believed the polit¬ 
ical field offered the biggest opportunities for advancement. It has been 
said that the artist must draw to please the people, but it should be added 
that the editor is the first one to please. Get his slant at a thing if you 
can. Get in touch with all the editors you can and get their point of view. 
It is human nature to accept a thing in one's own point of view, and the 
editor usually hesitates a long time before he refuses a drawing carrying 
out his own idea. 

We believe we have passed upon everything that would be of vital 
use in the making of the cartoon, but we again urge close study of the 
plates made especially for the book and the cartoons reproduced herein. 
We will conclude the chapter with a list of “Don'ts” that the student can 
study to advantage. 


DONTS 

Don't start a drawing without a definite idea in mind. 

Don’t attempt to ink in or put any crayon on the drawing until the 
figures are well worked out. While you are learning, trace the drawing 
before inking in. 

Don't model one part of the drawing before you have finished work on 
another part. 

Don't fail to spend the most part of your time in drawing the principal 
object in the picture. 

Don't try to crowd the drawing by getting too many figures in it. 

Don't work out a crowd figure by figure. Study suggestion, as that is 
real art. 

Don't steal figures from another cartoonist. If you use clippings for 
drawing, use photographs. 

Don't get the drawing flat. Keep the tones distinct. 

Don't lose the expression in faces. 

Don't model too much on faces. 

Don't spend the most time inking in. Spend most of the time on the 
drawing. 

Don't think you can cover up the bad drawing with the ink and pencil. 

Don't draw anything you are not sure about. 


34 


Don't put in any detail that is not ESSENTIAL to the drawing. 

Don't try to slur faces, hands and feet. Learn to draw them WELL. 

Don’t try anything delicate. Use BIG ideas and work in a BROAD 

way. 

Don't use crayon in line, if you can avoid it. 

Don't use pen and a crayon in conjunction with one another. 

Don't leave lead pencil lines showing on the finished drawing. They 
will reproduce black like the crayon. 

Don’t fail to trace with BLUE transfer paper. Any other color except¬ 
ing blue will print. 

Don't work too big at first. Wait until you can draw well before work¬ 
ing large drawings. 

Don't try to turn out a drawing in any specified time. Speed is ac¬ 
quired with practice alone. 

Don't hesitate to study other men in the same line. 

Don't be discouraged by slow progress. The medium calls for slow 
study. 

Don't learn to depend upon “tricks” or “stunts.” Depend upon your 
individual skill. 

Don't hesitate to trace and retrace a drawing, if by so doing you are 
learning something. 

Don't be influenced by people who have never tried what you are try¬ 
ing. Experience is the best adviser. 

Don't fail to get all the HUMOR into the picture you can. 

Don't try to be humorous in a picture which symbolizes something like 
death, war, etc. (Note Mr. Robinson's angel cartoon.) 

Don't make the center of interest in the picture way down in one 
comer. Keep it NEAR the center of the drawing, but not exactly in the 
center. 

Don't make dots for eyes and dashes for noses all the time. An artist 
sometimes draws a legitimate eye and nose. 

Don't fail to take advantage of every opportunity to study. 

Don't use poor materials. 

Don't work on any old kind of paper with any old medium. Use the 
medium you like best on the paper you like best. 

Don't use a brush or crayon like a pen. If you do you have not 
mastered crayon work. 

Don't ramble around aimlessly. Get a certain slant at a thing and 
study that intensively. 

Don't study politics and draw pictures of buildings. The two rarely 
go together. 

Don't try to draw a Gibson girl head on a political boss. If the figure 
calls for a brutal face, make it so. 

Lastly, don't fail to draw well. Good drawing will soon be essential 
in every cartoon. 


35 























— Drawn by Rollin Kirby in “Puck” 


37 
















CHAPTER FOUR 

STUDY IN CONNECTION WITH THE CRAYON CARTOON. 

As in every business worth learning, cartooning calls for a great deal 
of study. The artist who hangs over his drawing board all day and is not 
alert to what is going on around him in the world will not make a success¬ 
ful caroonist. He must read everything that comes into his hands in rela¬ 
tion with the subject with which he is concerned. He must make it a daily 
habit to read the newspapers and magazines dealing with the subjects in 
which the public is interested. He should try to see the influence of cer¬ 
tain events upon the future life of the people of whom he is a part and to 
see if he can interpret in picture form their thoughts. 

This can only be done by hard and diligent study of character and indi¬ 
viduality. 

It is essential that one get all the rudiments of drawing, that he im¬ 
prove his work by practice, and get, if possible, the best knowledge of draw¬ 
ing he is capable of obtaining. But, it is likewise essential that he obtain a 
knowledge of history and of life. The men who have made the greatest 
success at cartoon work are students of human nature, able to tell the char¬ 
acter of the people whom they address. Once a cartoonist learns the drift of 
public thought, he should have no difficulty in drawing successful cartoons. 
But that is up to the cartoon student to pick out what he thinks the means 
of getting the “slant” of the public view. Newspaper editorials are often 
meaty in historical value, but are often misleading in political thought. 
Students seeking good political ideas should take into mind the fact that 
editors often try to influence popular favor by “misleading” rather than 
“leading” editorials. The student should be able to judge just what is 
true in the editorial columns. 

Try to get your political or current events from a paper that is as 
nearly neutral as possible. 

BOOKS THAT MAY BE USEFUL. 

But, when it comes to obtaining information about the methods of 
building up the crayon cartoon, certain helps are easily recommended. We 
have prepared a list of books that we would recommend as of value in a 
library of the student of cartooning. It only includes books we have seen 
and is not intended as an exhaustive list: 

Vanderpool's “The Human Figure.” 

Heinrich Kley, “Skizzenbuch.” (Sketchbook)—2 volumes. 

Dunlop's “Anatomical Diagrams.” 

Joseph Pennell's “Pen and Ink Drawing.” 

0. E. Cesare's “One Hundred Cartoons by Cesare.” 

B. W. Hawkins' “Anatomy of the Horse.” 

Cory's “100 Handy Hands.” 


39 


USE OF A SKETCH BOOK. 

It is also essential that the student keep a note book and use it as much 
as possible, sketching figures in unusual action and drawing rapidly any¬ 
thing that he sees that may be of interest and help in future work. The 
real way to learn life is to go out and see it, transferring it to paper through 
the medium of the sketch book. Learn to make the sketch book a hobby 
and your drawing will improve in leaps and bounds. 

CLIPPINGS. 

Clip work that you think has something in it for future study. Get 
photographs from magazines containing costumes that you may need for 
reference at some future date. File them away in order, and add to them 
as you find new pictures. 

MAGAZINE STUDY. 

Study magazines using modern methods. The “Masses,” a magazine 
of a rather radical nature, published in New York, has had very clever 
work by Messrs. Cesare, Robinson, Chamberlain, Minor, Art Young, Becker, 
and others, all of whom have more or less modem methods of cartoon work. 
The “Masses” is published monthly and it would be a good idea for the 
student to study the methods of the men and women represented therein, 
as they all know what they are doing and have modern “style” in their 
endeavors. Cartoons Magazine each month contains many examples of 
crayon work and with each succeeding issue, the advance made by that 
style of work is well illustrated, if you will observe how many of the car¬ 
toonists are coming over to the new style. 

CARTOONISTS TO STUDY. 

Look up all the papers you can where cartoon treatment by means 
of the grease crayon is now in vogue. You will likely not have to look 
very far. Mr. Minor is now doing a great amount of work for 1 the New 
York Call; Mr. Cesare draws an occasional crayon cartoon for Puck and 
for the New York Evening Post, with whom he has been for a short time. 
Mr. Robinson’s work appears every month in the “Masses;” Mr. Forain’s 
work is in Le Figaro—it is widely copied in this country as well; Daumier’s 
cartoons are now in book form and can be obtained in most large art li¬ 
braries ; Mr. Sykes’ in the Evening Ledger, Philadelphia; Mr. Fitzpatrick’s 
in the St. Louis Post-Dispatch; Mr. Startett’s in the New York Tribune; 
Mr. Kirby’s in the New York World; Weed’s in the Philadelphia Public- 
Ledger; Cassel’s in the New York Evening World; Brinkerhoff’s in the 
New York Evening Mail; Carter’s in the New York Evening Sun; Evans’ 
in the Baltimore American, and Temple’s in the Cleveland Plain Dealer. 
All of these men have something in their work which should be of very 
great help to the student and are worthy of study. Of the above, Mr. 
Carter does most of his work with a pen and Mr. Temple works entirely 
with a lead pencil in his “Sketches from Life.” 

There are not many crayon cartoonists in the West as yet, but they 
are gradually coming into their own in that part of the country and it will 
likely not be long before there will be quite a number of them. At present 
the crayon is by far the most popular medium in the East and has not yet 


40 



Sykes in The Phila. Public Ledger 










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reached the limit. There will be an added demand for that style of work, 
the more improved the reproduction process becomes. 

ANATOMICAL STUDY. 

You will find some useful construction in the back of the “Dunlop 
Anatomical Diagrams,” which will help you immensely in learning the con¬ 
struction of the figure. It would pay the student to study the construction 
of the figure carefully. 

Also, study Vanderpool’s book. It has been a great help to almost 
every illustrator and cartoonist in the country and should be of great help 
to any student, especially to one who has not and will not have the oppor¬ 
tunity to obtain drawing from the figure in an art school. Right here we 
would like to advise the student to perfect his study in an art school. But, 
it would be well to caution against too close study, as that tends to take 
every bit of originality from the student, which is certainly not to be de¬ 
sired. Almost anyone with a little talent can go to art school and become, 
in four or five years, an excellent photographer, but unless he is particular 
to use that knowledge in sketching and study AWAY FROM THE CLASS 
ROOM he will be lost, and, as for original work on a figure, will be sadly 
nonplused. 

HEADS AND FACES. 

In the study of heads and faces, it would be well to study a system 
which is usually shown in any good anatomy. Begin by seeing the face 
in the simple planes and as you progress in study you will begin to see the 
value of gaining a knowledge of them. Study the faces of the people you 
see every day. If an accident occurs on the street, watch the expressions 
on the faces of the people who witness the scene. At a show watch people 
laugh when something funny occurs. You will be surprised to find that 
few people express pleasure in exactly the same way. 

HANDS. 

By all means learn to draw HANDS well. Hands are used by about 
ninety-nine per cent of the people to express about ninety-nine per cent 
of their emotions. Draw your own hand. Study it in different positions 
and here, again, you will find a great amount of help in watching people 
gesture with their hands when they are moved by different impulses. Act 
out some of those impulses, using a mirror to reflect your own hands. 
That is using a model, of course, but it better than drawing a poor hand. 
It has been said that a real artist can be told from a poor one by the 
method in which he draws hands. In that case, you should study hands 
and learn them well. 

SHOES. 

You will find that shoes, second to hands, are the most difficult. But, 
as it will be readily seen, a knowledge of what is underneath the shoes, the 
feet, will prove beneficial in learning to draw them well. Sketching 
“close-up” views of feet will perfect you in the drawing after you have a 
good knowledge of the construction of the bare feet. Study the old shoes 


43 


you have about. Study the way the light falls upon them and try to see 
how the lines of light follow and shape the lines of the shoes. You can 
build up a fine shoe by using solid blacks, and an outline shoe is not difficult 
if you follow the general contour of the foot itself. 

Cesare is especially good in drawing shoes, because, as in all his work, 
he draws them well. Cesare likely has one of the best slants at anatomy 
of any artist in the country. 

WRINKLES IN GARMENTS. 

Wrinkles are not hard to master if you have a sufficient collection of 
photographs. But, there are some wrinkles that should be known well 
enough to allow instant employment without the assistance of clippings. 

Here, again, the correct knowledge of anatomy will be of immense 
value in determining how to use wrinkles. All wrinkles start from some 
projecting point in the anatomy of the figure. Either from a projecting 
muscle or bone in the framework of the skeleton. Where certain bones 
project noticeably, the wrinkles formed are usually more distinct and cer¬ 
tain. For the more difficult wrinkles use the clippings you have. You 
will find lots of good clippings for wrinkles in photoplay books and maga¬ 
zines; also in the best illustrated theatrical magazines. 

Learn to model with the crayon in making wrinkles in the garments, 
as a simple line for a wrinkle will not always do, especially in crayon work. 

We believe we have touched upon about everything in connection with 
the study of the cartoon, but the student will run up against lots of things 
which may bother him. Do not try to draw a difficult figure, if one in an 
easier position will do just as well. It is not a good idea to try too difficult 
subjects at first, owing to the liability of lessening your enthusiasm before 
you have completed the drawing. A tired feeling on the part of the artist 
will show up instantly in the finished drawing. Preserve some of your 
energy for use on the inking-in process. 

If you find you are up against it hard in working out a figure, refer 
to your clippings, but do not become a slave to them. 


44 



Politics 


STARRETT.in New York Tribune 


— A Drawing by Starrett 


45 









AN AFTERTHOUGHT. 

As an afterthought, we wish to urge the student to take for granted 
that the book has been written for his benefit. If it will assist him in 
developing a latent talent, or, in assisting him toward success, it will have 
answered its purpose. 

We would like to have you tell us what you think of the book and to 
boost it, if you feel it deserves it. Perhaps it has opened up new channels 
of thought; perhaps it has aroused in you a desire to better your present 
conditions. 

We hope we have not spoken detrimentally of the pen and ink style of 
cartooning. We may have seemed partisan to the crayon style. In expla¬ 
nation we wish to say we leave the decision as to the proper medium to 
use to the student. We have written the book for those intensely interested 
in the new cartoon medium. 

Thanking you for any success the book may achieve, we remain 

Sincerely, 

THE PUBLISHERS. 


47 








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